Hull

REVIEW: Dean Wilson’s ‘Take Me Up The Lighthouse

Nov 19, 2024 — 5 Comments

A literary review by Sam Bartle

Having spent my early childhood in the East Yorkshire seaside town of Withernsea, it holds a special place in my heart, so I couldn’t resist reviewing the work of poet Dean Wilson, who refers to himself magnanimously as ‘Withernsea’s 2nd Best Poet’! Dean has gained great public acclaim and affection for his words, and has also achieved fame for his pebble-picking on Holderness coast beaches which he transformed into a successful social media feature (‘Pebble Of The Day‘), that he ran for almost three years, and now continues that popularity with content for ‘Dean’s Discoveries‘ in the Holderness Gazette. His friend, the writer and producer Dave Lee, has also made a number of short films with Dean in celebration of his work, usually at coastal locations.

‘Take Me Up the Lighthouse’ by Dean Wilson is full of rhyming verse about love, desire, and his affection for Withernsea and the local area..

When deciding which of Dean’s books to review, I was immediately drawn to ‘Take Me Up The Lighthouse‘, perhaps because I used to live in Withernsea and immediately realised the title was both a reference to the landmark white lighthouse that towers over the town, and also a euphemism for some form of amorous activity! Indeed, the title is a perfect abstract of two key themes that seem to occupy the book: Across an incredible 55 poems, the author skilfully sets raw emotions like desire, love, and perhaps also loneliness, against the backdrop of a mundane Holderness landscape. However, this is far from derogatory and acts as a nod of affection to the whole area, which Dean interweaves with his trademark brand of subtle humour. Arguably, not all of the poems deal with these themes, but I think this is something that particularly stands out for the reader. The work is firmly and unapologetically based on rhyming verse, and the rhymes come thick and fast. Perhaps this is best summed up by his poem, ‘Holderness’ in which he references his deep affection for rhyme:

“I’m on the bus
to Hornsea
there’s
no one
on the top
deck but me
I’m rhyming furiously
because rhyme sets me free…”

‘Holderness’, from ‘Take Me Up The Lighthouse’ page 22, by Dean Wilson

As someone who shares the author’s fondness for rhyme, this resonated with me as a reader, and I found myself enjoying the simple yet effective way that Dean delivers his refrains and arranges the poems on the page. In many of the poems, the lines are set out in couples, sometimes only two-three words in length, making them accessible to read. This means that the reader can just enjoy the rhyme and doesn’t have to read and re-read each stanza to interrogate and unpick intricate literary devices and meaning. Some of the best writing is arguably that which delivers its message succinctly and doesn’t try to attain greater depth by shrouding itself in mystery and, in this book, the messages are simple and clear. One of those messages is the desire to be loved:

“Kiss me under
the pier, dear
kiss me ’til
my lips are sore
and my teeth
lose their veneer…”

‘Kiss Me Under The Pier’, from ‘Take Me Up The Lighthouse’ page 11, by Dean Wilson

‘Take Me Up The Lighthouse‘ is published by Wrecking Ball Press

Obviously, the reader can detect the humour within the writing but you can also sense the author’s desire for passion, and this accumulates through the collective reading of each poem:

“…pin me against
a haystack
there are worst men
you could adore

pin me against
a haystack
your hot hands
will help me thaw.”

‘Pin Me Against A Haystack’, from ‘Take Me Up The Lighthouse’ page 50, by Dean Wilson

The poem after which the book is entitled, perhaps encapsulates this emotion best:

“Take me up
the lighthouse
it’s been quite
a while

take me up
the lighthouse
please don’t
run a mile…”

‘Take Me Up The Lighthouse’, from ‘Take Me Up The Lighthouse’ page 45, by Dean Wilson

Many of the poems in the book also reflect on the object of desire and the various men that the author has been attracted by on his travels. Poems such as ‘Guard’, ‘Pipe Fitters’, ‘Yacht’, ‘Kevin Webster’, ‘Gary’, ‘Queen Street‘, and ‘The Lifeboatman‘ all contain subtle notes of that secret desire for the strangers he meets, and are sometimes characterised by Dean’s contemplations of what would happen if his romantic ambitions were to be revealed:

“…maybe we’ll
become pals
and drink in
The Alma together

or maybe he’ll shun
me in the street
when he realises
it’s romance I’m after.”

‘Halifax Dish’, from ‘Take Me Up The Lighthouse’ page 34, by Dean Wilson

The book takes the reader on a ride of rhyme through Dean’s beloved Holderness.

In the poem, ‘And Then Where Would I Be?’, Dean meditates on finding love itself, and the consequences that may have for his poetry, reconciling that the search for love is perhaps what keeps the flame of his creativity burning and allows him to continue writing. To find love, might therefore jeopardise his poetry:

“…Do I really
want to wake up

in a big strong
man’s arms

if it means
never waking

up with
a verse?”

‘And Then Where Would I Be?’, from ‘Take Me Up The Lighthouse’ page 40, by Dean Wilson

On the basis of having read this book, I believe the fear would prove unfounded, and finding love would actually steer the author’s creativity in new directions, and of course, I don’t think it would alter his ability to find observational humour in his surroundings (as in ‘Bus 1’, ‘Bus 2’, ‘Bus 3’, and ‘Bus 4’, for example), nor would it dampen his articulation and celebration of his beloved ‘With‘ (Withernsea) and the rest of the Holderness area:

“…roll up
your slacks

take off
your vest

everyone knows
With is the best.”

‘With Is The Best’, from ‘Take Me Up The Lighthouse’ page 60, by Dean Wilson

‘Take Me Up The Lighthouse‘ is a charming take on the world, as seen through the eyes of the author, and you can’t help but smile as he takes you on this ride of rhyme through Holderness, making it a must-read for any aficionado of the rhyming verse.

By Sam Bartle

(‘Take Me Up The Lighthouse‘ by Dean Wilson is available to buy from Wrecking Ball Music and Books in Hull or online from Wrecking Ball Press .

You can also find it in the ‘Shop’ section of Dean’s website, ‘DeanWorld‘, where you can learn more about the poet himself: www.deanworld.org).

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REVIEW: Vicky Foster’s ‘Bathwater’

Sep 30, 2023 — 7 Comments

A literary review by Sam Bartle

As someone who is gradually trying to familiarise themselves with the writing talent of their local region of Hull and East Yorkshire; choosing a work by Vicky Foster was, for me, a piece of required reading. Before selecting this particular book I was already very familiar with the author’s name as a respected Hull poet, and Vicky’s own backstory, involving the traumatic experience of living with a violent partner, had received coverage in the media. So, while I plunged headlong into ‘Bathwater’ without fully knowing what it would contain, I did have an intuition that it would likely refer to aspects of the author’s past; this being, unsurprisingly, an apparent stimulus for her writing.

However, what immediately grasped me about this book was its intriguing format, which caught me totally by surprise. It combines playwrighting, poetry, and prose together in an apparently unique way. Admittedly, the last time that I read the script of a play was when studying Shakespeare for GCSE English, so if I have misinterpreted the work and wandered off-track, then my apologies, but my understanding of it is as follows:

The book is divided into three parts. The first features characters comprising Vicky herself, and her son, (named ‘Joseph’ in the story), giving their own narratives of events, each from different respective timelines and perspectives. The two monologues run in tandem and are infused with poetic statements that echo through the pages and timespan of the play. The reader gets a sense of how Vicky and Joseph are haunted by past experiences, which are gradually revealed during the course of the narrative, as well as the tenderness of a mother’s love for her son, and the maternal instinct to protect him through adversity.

The second part returns to Joseph’s previous monologue and presents it as a seamless address to the reader/audience. The book then concludes with an interesting epilogue, entitled ‘Me and D.I. Jones’, written in prose and dialogue. One wonders at the nature of the relationship and significance of ‘D.I. Jones’ in the context of this narrative. It cleverly hints at possibilities without overtly resolving them, leaving the reader to draw their own conclusions. Was there a romantic connection? It hints at flirtation. Or is it about the safety offered to Vicky by this man’s presence in her home; the contrast between what she had previously experienced in that house? There is also distance between them in spite of their explicitly friendly relationship, and the reader discovers how Vicky has gradually been worn down by the persistent threat of harassment from her ex-partner, and successive relocations to increasingly dilapidated lodgings, which in turn appear to have made Vicky feel more and more ashamed and is pushing her away from the handsome, well-presented ‘D.I. Jones’.

‘Bathwater’ by Vicky Foster, is based on her real-life experience of domestic abuse and violent crime.

To return to Vicky’s backstory, it’s worth reiterating that ‘Bathwater’ is based on real-life trauma suffered by the author and her children, which adds further poignance to the narrative: Not only did she endure domestic abuse from her partner (named ‘Tom’ in the story), but she also had to cope with an aftermath that involved the difficulties of single motherhood whilst living under the threat of harassment and aggression from her partner after they had separated and he made repeated attempts to return to the house, ultimately resulting in police protection measures. To add to this, her ex-partner was later violently murdered in an unrelated brutal revenge attack, which had the inadvertent effect of putting Vicky’s name into the public gaze as an ex-partner and mother to his children. This created its own anxieties as she strived to shield her children from the truth whilst grieving for a man she once loved, with whom she tried to build a family life, and who was now publicly labelled and associated with violent crime.

With this knowledge, the reader cannot fail to develop a deep respect and admiration for the author’s resilience and how she has progressed from the experience to become an accomplished writer and, of course, a proud mother to her children, who have also had to live with the emotional scarring.

‘Bathwater‘ is a fascinating and bold use of play, poetry, and prose in its storytelling. With subtle, understated words, the author lends more power and resonance to her story than could ever be managed by thrusting the issues directly into the reader’s face. Issues, such as domestic abuse, harassment, abandonment, single motherhood, protecting a son from the truth about his father, and the experience of childhood with an absent father. It also deals with the anxieties that stem from coping with such situations.

Joseph’s story also resonated with me; his Dad was a firefighter on the Hull fire stations, as was my own Dad, albeit at different times. I felt some synergy with this and also a striking contrast in that Joseph’s father harboured a great deal of anger and torment which, as the author alludes, was possibly worsened by the stresses of his job, whereas my own Dad always created a warm and compassionate environment in the family home. For this reason, I felt sadness for Joseph’s childhood without his father, and the problems this may have caused him in his adolescence, whilst also incredibly fortunate that the stresses of my Dad’s occupation hadn’t impacted negatively on my own childhood and our family life in general.

Across the narrative, there are three focal places or locations that stand out for me as a reader, because Vicky’s experience of those spaces, and their significance for her, appear to change over time. They are: the bath; the supermarket; and the decorated room. At various points in the story, these places may witness scenes of optimism and happiness, representing the hopes and aspirations of a couple in love, starting a new family; but as tragedy unfolds, those same spaces play host to trauma and despair and serve as reminders of shattered dreams.

In the case of the bath:

Vicky: “To him I was a princess. And he would drink my bathwater.”

‘Bathwater’ Scene 1, page 10, by Vicky Foster

Here, the ‘bathwater’ is evocative of the strength and passion of Tom’s love for Vicky at the start of their relationship, but very quickly becomes the scene of anger:

Vicky: “…Suddenly red blooms in the bathwater.

Blood. Surely blood…

…It is Tom’s red wine.

He is in a rage.

His eyes are fists.“

‘Bathwater’ Scene 1, page 14, by Vicky Foster

The ‘bathwater’ has now become sullied by Tom’s violent temper, symbolic perhaps of how it spoiled Vicky’s hopes of a dream family life.

“You do not have to grow where you land.

Rinse and repeat.

Go back to the start

and change the bathwater.“

‘Bathwater’, (‘Joseph’), page 48, by Vicky Foster

Once more, the ‘bath’ again becomes symbolic of renewed hope, with the author’s assertion that the ‘bathwater’ can be changed.

I think that Vicky’s use of these spaces is a clever literary device, grounding the narrative in relatable everyday scenarios, with a bitter twist. With the decorated room, the tone again begins positively, with optimism as Vicky and Tom seek to build a life together: 

Vicky: “We’ll shine light in new rooms… 

We scratch our names in the old brick. 

Etch promises that scatter orange dust 

and fade beneath our brushes. 

We scratch out a new life…” 

‘Bathwater’ Scene 1, page 11, by Vicky Foster 

However, once again, the same room (or rooms) become part of the nightmare as Vicky and Joseph are embroiled in the torment of their close connection to Tom, who is now wanted by the police for violent criminal assaults. Those ‘promises’, etched in the brick have now become something to hide in the face of the public gaze, with Tom’s offences being brought to the attention of the media: 

Jos: “I need clean white walls to block it out.

“Vicky: “I need four walls to block it out“

Jos: “but sometimes white paint hides dark secrets.”

‘Bathwater’ Scene 4, page 25, by Vicky Foster

This theme continues with the ‘supermarket’, which begins as a place where Vicky feels contented, spending time with her son: 

“January 2002. I’m 22 now and Joseph is a smiling two-year old bundle of energy. 

I love it here. It’s one of my favourite places. And I know that’s sad. But there you go. I love Asda, what can I say? Usually I come on my own. Just me and Joseph. That’s how I like it best, if I’m honest.” 

‘Bathwater’ Scene 3, page 16, by Vicky Foster 

With news of Tom’s murder, as part of a revenge killing, Vicky begins to suffer extreme bouts of anxiety through her association with such a widely publicised incident, and the clear emotional conflict of this having happened to the man she loved, and with whom she was to have built an idyllic family life. Suddenly, a public place like the supermarket becomes the centre of a deeply uncomfortable, agonising ritual: 

“People are starting to look at me, and I’m not sure if it’s cause they know or whether it’s cause I’m muttering to myself and blocking the aisle. But either way, it’s not good. Think they’re getting to know me here now. Probably sick of loading all the stuff from my abandoned trolley back on the shelves. Last week it wasn’t the tinned fish that freaked me out – sometimes it’s fresh meat; sometimes I get all the way to the freezer aisle – that’s worst. Trolley full of all the things I need to be a good mum.” 

‘Bathwater’ Scene 6, page 30, by Vicky Foster 

The author manages to convey the experience of panic and anxiety very powerfully in her narrative, and the reader cannot help but empathise with the range of emotions that she must have felt on seeing a man that she had loved become publicly known in the press for violent crime, and his eventual murder. Naturally, this has its effect on her mental health, leading to apparent bouts of agoraphobia, and a battle against these feelings in order to care for and protect her son:

Vicky: “…I can hardly leave the house. The sky’s too big, you see. Daft, eh? But it is. The sky’s too big nowadays. 

Too much possibility in all that space.” 

‘Bathwater’ Scene 5, page 24, by Vicky Foster 

Vicky: “My hands are deep inside my pockets, but my arms – my arms are holding off the sky. They are painting sunshine into his days.” 

‘Bathwater’ Scene 5, page 27, by Vicky Foster 

The story of Vicky and Joseph’s suffering does, however, have a silver-lining, which is neatly analogised with this line:

Vicky: “Sometimes people have made a mess and it took a lifetime to get my floors clean.”

‘Bathwater’ Scene 9, page 39, by Vicky Foster

I think that, when you evaluate the journey that the author has made to become the writer and mother she is today; it could be said that Vicky Foster’s ‘floors’ are indeed now pristine, for she has transformed herself from a victim of abuse into a much-acclaimed author and poet, as well as raising her children in the process, helping them navigate through that emotional minefield and emerge into adulthood. In all honesty, the accomplishment is astonishing and should be seen as a source of empowerment for any women who may have the misfortune to find themselves in a similar situation today.

‘Bathwater’ could be regarded as the literary rendition of that journey, bravely addressing the misery of abuse, acknowledging its scars but ultimately, and crucially, arriving at hope. It is, to my mind, a truly powerful piece of writing that more than earns its place in the annals of domestic abuse literature.

By Sam Bartle

(Vicky’s play was broadcast on BBC Radio 4 as part of the BBC ‘Contains Strong Language’ Festival in 2018, and you can watch her being interviewed about it on the Festival webpage .

‘Bathwater‘ by Vicky Foster is available to buy from Wrecking Ball Music and Books in Hull or online from Wrecking Ball Press . Other retailers are available online.

More information about the author herself can be found at https://vickyfoster.co.uk ).

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Away With Words

Nov 23, 2022 — 21 Comments

Poetry and Spoken Word Night at Union Mash-Up, Hull

When first embarking on my poetic adventures, it used to feel as though the opportunities to actually perform my work were few and far between, but in 2022 I discovered ‘Away With Words‘, a poetry and spoken word open mic night organised and hosted by legendary Hull poet, Jim Higo. This free event has been running since 2012, so is over a decade old and, whilst it’s had different venues across the city of Hull during its lifespan, it now occupies the ambient rooms of Union Mash-Up on Princes Avenue. The event is renowned in Hull as a forum for celebrating and supporting local creatives. As soon as you enter the doors of the building, you instantly get a welcoming and intimate feel from the place, and that’s in no small part thanks to Jim Higo and the passion and commitment he has invested in the event, right from its very beginning.

Having learned of this event from some other poets, I decided to give it a go myself and see if I could muster the courage to read a few verses. So, one evening in the early Spring of 2022, I went along to Princes Avenue, Hull, to share a few lines with an unsuspecting public.

Reading from my poem, ‘The Omega: Dark’ at the ‘Away With Words’ poetry and spoken word night, Union Mash-Up, Hull (Image: Jim Higo)

The Union Mash-Up is a bar and restaurant that plays host to arts and cultural events on its first floor. The venue is converted from former residential premises and there are charmingly nuanced traces throughout the building, that reveal its former use as a home; perhaps none more revealing than the old fireplace directly behind the stage! Once you ascend the old staircase you’re greeted by a wall of warmth, generated by the gathering crowd and the relatively small space. It actually feels rather cosy, and everyone is there to have a good time and listen appreciatively to what all the poets and spoken word artists have to offer.

The friendly atmosphere of the venue helped to put me at ease as I took my seat, pint of pale ale in hand, wondering if my drink would help add to the sense of relaxation, or render me slightly too tipsy to read properly! Jim was working his way down the rows of seats, taking down the names of people who wanted to go up on the stage, and allocating the running order. When he came to me, I elected to do my stint in the first half of the evening, deciding that it would be better to get it out of the way as early as possible and save my nerves. After registering as one of the poets for the night, I sat back and waited to see what happened next, the dim light of the room adding to the anticipation.

“It’s about celebrating the range of works, performances, and creativity that the city has to offer, and so it really doesn’t matter whether you have a finely tuned stand-up routine, or are just reading from your mobile phone.”

About three or four performances in and a sudden wave of fear came over me as I watched in awe at the polished professionalism of the people taking to the stage. It was clear that a number of the performers were accomplished entertainers, generating huge laughs from the audience through their spoken word acts. As a fledgling poet, who would consider it a success just to read a few poems from his tablet, I wondered for a moment if I’d made the right decision, but this is the beauty of the ‘Away With Words‘ event; all are welcome. It’s about celebrating the range of works, performances, and creativity that the city has to offer, and so it really doesn’t matter whether you have a finely tuned stand-up routine, or are just reading from your mobile phone. Everyone is welcomed and encouraged. As the night wore on, I could clearly see this was the case and so as my turn approached I was much more reassured.

“I got on the stage with my tablet and began to read to the audience my rhyming verse about the harsh reality of alcoholism as they supped their pints of real ale and sipped at their cocktails!”

I like to write all kinds of rhyming poetry, both light and dark, and I’d recently shared a particularly contemplative poem on social media , called ‘The Omega: Dark’, about the experience I had living with an alcoholic landlord, who tragically died. After doing this, Lucy Clark (formerly of BBC Radio Humberside) commented on my post and said I should do ‘Away With Words’ at Union Mash Up. I took this to mean that I should read my dark, brooding poem at this event, so I now had it lined up on my tablet, ready to go on the night. After soaking up the atmosphere though, I could see that most people seemed to have come here for a night out, to be entertained, and I began to doubt Lucy’s advice about reading my sinister little poem! With hindsight, I think she just meant that I should go along to the event and do a reading, but it was my plan now to read this particular poem and I was sticking to it.

My poem, ‘The Omega: Dark’ looks at the tragedy of alcohol abuse. (Image: Segev Vision, Pexels)

I got on the stage with my tablet and began to read to the audience my rhyming verse about the harsh reality of alcoholism as they supped their pints of real ale and sipped at their cocktails! I felt like I was going to be heckled as some sort of Puritan preacher, but despite feeling like I’d misjudged the whole thing, the audience were brilliant and so appreciative, which I think signals what a great and welcoming event ‘Away With Words‘ is for anyone who just wants to come and try out their work on a public audience. After reading ‘The Omega: Dark‘, I rattled off a couple more poems that were less stark, but still fairly traditional works. For me, it was ‘mission accomplished’ and actually a great feeling to have played a small part in the evening.

Sadly, the shift pattern of my day job has since clashed with every ‘Away With Words‘ night this year so I’ve been unable to get back again. If it comes to it though I’ll try and get some time off and return to have another go. Hopefully, next time I’ll be able to try out some of my lighter material!

By Sam Bartle

For details of the next ‘Away With Words’ poetry and spoken word night, visit the Union Mash Up Events page